art

‘Man with a Cocked Head’ was a painting of a penis in a suit

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{ Chris Burden, Being Photographed Looking Out Looking In, 1971 }

Loneliness, an interpersonally stressful state of perceived social isolation

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framed text, glass jars, shelf, hair, fingernails, and skin { Adrian Piper, What Will Become of Me, 1985, ongoing }

The cess of majesty dies not alone

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Often, damaged works of art end up in the vaults of insurance companies. Once the owner submits a claim on the damaged piece, a team of experts, appraisers, conservators and adjusters offer specialist advice on the artwork’s condition and devaluation. The economics of selling and repairing the work are weighed up, and generally, if the cost of restoring a work is far beyond what it is worth, the work will be claimed as “total loss”. The insurance company will pay out on the policy and, in exchange, retain the broken piece. The “total loss” artwork is effectively declared worthless, unsalvageable by both insurer and owner. From then on it belongs to the insurance company as salvage.

Some of these pieces, though, end up being exhibited by the Salvage Art Institute (SAI), which calls itself a “haven” for written-off works. Conceived by Elka Krajewska, an artist in New York, in 2009 during a chance meeting with a representative of AXA Art Insurance, it took her until 2012 to jump through enough legal hoops to persuade the insurer to donate some of their total-loss works to the SAI. A selection of these works is now on show in “No Longer Art”, a show at BNKR Space, a gallery in Munich.

{ The Economist/1843 | Continue reading }

welded steel, porcelain, wire mesh, canvas, grommets, and wire { Lee Bontecou, Untitled, 1980–98 }

Midway through the show, we realized we were sitting so close to Friday Night Lights’s gorgeous Connie Britton that we had to physically restrain ourselves from touching her hair

I know of an art historian who was asked to authenticate a work by Leonardo, and he was going to, you know, charge the normal kind of fee charged for doing this kind of thing — a low six figures. And the owner said, “No, no, no. We want to pay you a percentage of what it sells for.” Now, what is the chance that any art historian given that particular contract is gonna say, “Oh no, it’s not by a famous artist. It’s by Joe Blow and it will sell for a thousand bucks”?

{ Blake Gopnik | Continue reading | more }

Mimosa Multimetica

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{ Yves Klein, Monochrome jaune sans titre (M 8), 1957 | Roy Lichtenstein, Yellow brushstroke I, 1965 }

police responding to N Yale/Macrum - report of a “Beer Olympics” taking place - participants urinating on cars

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A 2013 study published in the journal Circulation found that men who skipped breakfast had a significantly higher risk of coronary heart disease than men who ate breakfast. But, like almost all studies of breakfast, this is an association, not causation. […]

In a paper published in The American Journal of Clinical Nutrition in 2013, researchers reviewed the literature on the effect of breakfast on obesity to look specifically at this issue. They first noted that nutrition researchers love to publish results showing a correlation between skipping breakfast and obesity. […] They also found major flaws in the reporting of findings. People were consistently biased in interpreting their results in favor of a relationship between skipping breakfast and obesity. […]

Further confusing the field is a 2014 study that found that getting breakfast skippers to eat breakfast, and getting breakfast eaters to skip breakfast, made no difference with respect to weight loss. […]

Many of the studies are funded by the food industry, which has a clear bias. Kellogg funded a highly cited article that found that cereal for breakfast is associated with being thinner. The Quaker Oats Center of Excellence (part of PepsiCo) financed a trial that showed that eating oatmeal or frosted cornflakes reduces weight and cholesterol.

{ NY Times | Continue reading }

oil on canvas { Jeff Koons, Hair, 1999 }

related { Corn Flake Portraits of Pop Stars }

‘Nothing is so useless as a general maxim.’ —Thomas Macaulay

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“you only have 100k because of ur url.”

“uh no i had 93k before i got this url so excuse u.”

{ New Republic | Continue reading }

art { Ellsworth Kelly, Diagonal lines, 1951 | James Marshall, Untitled 7, 2015 }

‘The second half of a man’s life is made up of nothing but the habits he has acquired during the first half.’ —Dostoevsky

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{ Leah Schrager }

Nous partîmes cinq cents ; mais par un prompt renfort, nous nous vîmes trois mille en arrivant au port

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Most fans in many popular sports pay less for their tickets than conventional economic theory would predict.

Which poses the question: are team owners therefore irrational?

Not necessarily. There are (at least?) four justifications for such apparent under-pricing.

First, say Krautmann and Berri, owners can recoup the revenues they lose from under-pricing tickets by making more in other ways: selling programmes, merchandise and over-priced food and drink in the stadium.

Secondly, Shane Sanders points out that it can be rational to under-price tickets to ensure that stadia are full. […]

Thirdly, higher ticket prices can have adverse compositional effects: they might price out younger and poorer fans but replace them with tourists […] a potentially life-long loyal young supporter is lost and a more fickle one is gained. […]

Fourthly, high ticket prices can make life harder for owners. They raise fans’ expectations.

{ Stumbling and Mumbling | Continue reading }

oil on wood { Ellsworth Kelly, Seine, 1951 }

Article IV. La liberté consiste à pouvoir faire tout ce qui ne nuit pas à autrui.

{ Mike Flemming, Hair Flip (The End of Authentic Gestures), 2014 }

‘Useless words. Things go on same, day after day.’ –James Joyce

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{ Ellsworth Kelly, White Brown, 1968 | Interview with Ellsworth Kelly, October 2013 | more }

They say any artist paying six dollars may exhibit

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Experts say fakes have become one of the most vexing problems in the art market. […]

Two years ago, the center, known for its work in bioengineering, encryption and nanotechnology, set about developing a way to infuse paintings, sculptures and other artworks with complex molecules of DNA created in the lab. […]

The new approach, in its formative stage, would implant synthetic DNA, not the personal DNA of the artists, because of privacy issues and because a person’s DNA could conceivably be stolen and embedded, thus undermining the authority of such a marking protocol.

The developers said the bioengineered DNA would be unique to each item and provide an encrypted link between the art and a database that would hold the consensus of authoritative information about the work. The DNA details could be read by a scanner available to anyone in the art industry wanting to verify an object.

{ NY Times | Continue reading }

installation { Yayoi Kusama, The obliteration room, 2002-present }